ARRI News

Director Blake Farber and director of photography Corrado Serri AIC share their experience shooting with the Mini LF and Signature Prime lenses for Pepsi's 'Discover' commercial.

The advantages of ARRI cameras for live events, from the perspective of a producer/director, a colorist/editor, and a documentary filmmaker.

This year’s Academy Awards recognized many outstanding films and artists this year. ARRI is honored to have supported Oscar’s big winner of the evening, “Nomadland,” and many others. 

Director Hamish Hamilton discusses his experience using ARRI cameras at the 2021 Super Bowl Halftime Show for the first time and how the ALEXA Minis and AMIRAs delivered epic imagery to millions.

One year ago, COVID-19 wreaked havoc on the entertainment industry and the infrastructure that supports it. ARRI checked in with three of their clients—Maccam, Pacific Backlot, and B&H—to learn what they experienced with the shutdown, how business is recovering, and what lighting trends they see for 2021.

From the ALEXA LF camera, ARRI Signature Prime lenses, and SkyPanel lights to ARRI Rental’s ALEXA 65 camera and DNA lenses, various mega films, released during the Chinese Lunar Festival, were captured with a range of ARRI technology.

ARRI’s new LED fixture Orbiter impresses producers, gaffer, DP, and actors alike on the set of “Wandering in Time,” a new Romanian feature film scheduled to release this summer.

Indonesia’s rising cinematographer, Vera Lestafa, and the first TRINITY operator in the country, Hanafi “Aan” Malik, join forces to shoot romance drama film “Under the Age” while equipped with the ultimate combination of ALEXA LF, Signature Primes, and TRINITY.

On the acclaimed movie “Never Rarely Sometimes Always,” French cinematographer Hélène Louvart shot with ARRIFLEX 416 film cameras, while for other projects she has chosen the ALEXA Mini.

Using ARRI’s ALEXA LF and ALEXA Mini LF cameras with Signature Primes, DP Luo Pan ASC, CNSC and director Guan Hu shoot an epic war film on a tight schedule.

While working on “All Russians Love Birch Trees,” DP Juan Sarmiento G. learns to appreciate the light quality and other features of ARRI’s Orbiter for the first time.

Sudan’s first-ever Oscar entry “You Will Die At Twenty” was shot and supported with ARRI camera and lighting equipment. Director Amjad Abu Alala and DP Sébastien Goepfert share insights about this piece of African film history.